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1
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0
1
2
3
4
5
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0
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1
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Home and Garden
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Musical
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Reality
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Short
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Sport
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Western
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Action
Adventure
Animation
Anime
Biography
Children
Comedy
Crime
Documentary
Drama
Family
Fantasy
Film Noir
Game Show
History
Holiday
Home and Garden
Horror
Music
Musical
Mystery
News
Reality
Reality TV
Romance
Science Fiction
Sci-Fi
Short
Soap
Special Interest
Sport
Sporting Event
Superhero
Suspense
Talk Show
Thriller
TV Movie
War
Western
Exclude Genres
Action
Adventure
Animation
Anime
Biography
Children
Comedy
Crime
Documentary
Drama
Family
Fantasy
Film Noir
Game Show
History
Holiday
Home and Garden
Horror
Music
Musical
Mystery
News
Reality
Reality TV
Romance
Science Fiction
Sci-Fi
Short
Soap
Special Interest
Sport
Sporting Event
Superhero
Suspense
Talk Show
Thriller
TV Movie
War
Western
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Avestan
Aymara
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Chamorro
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Chuvash
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Ndebele
Ndonga
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No Language
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Oriya
Oromo
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Persian
Polish
Portuguese
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Pushto
Quechua
Raeto-Romance
Romanian
Rundi
Russian
Samoan
Sango
Sanskrit
Sardinian
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Sindhi
Sinhalese
Slavic
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Swedish
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Tatar
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Tsonga
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Turkmen
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Uighur
Ukrainian
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Uzbek
Venda
Vietnamese
Volapük
Walloon
Welsh
Wolof
Xhosa
Yi
Yiddish
Yoruba
Zhuang
Zulu
Include Language
[Original]
[Main Spoken]
Abkhazian
Afar
Afrikaans
Akan
Albanian
Amharic
Arabic
Aragonese
Armenian
Assamese
Avaric
Avestan
Aymara
Azerbaijani
Bambara
Bashkir
Basque
Belarusian
Bengali
Bislama
Bosnian
Breton
Bulgarian
Burmese
Cantonese
Catalan
Chamorro
Chechen
Chichewa; Nyanja
Chuvash
Cornish
Corsican
Cree
Croatian
Czech
Danish
Divehi
Dutch
Dzongkha
English
Esperanto
Estonian
Ewe
Faroese
Fijian
Finnish
French
Frisian
Fulah
Gaelic
Galician
Ganda
Georgian
German
Greek
Guarani
Gujarati
Haitian; Haitian Creole
Hausa
Hebrew
Herero
Hindi
Hiri Motu
Hungarian
Icelandic
Ido
Igbo
Indonesian
Interlingua
Interlingue
Inuktitut
Inupiaq
Irish
Italian
Japanese
Javanese
Kalaallisut
Kannada
Kanuri
Kashmiri
Kazakh
Khmer
Kikuyu
Kinyarwanda
Kirghiz
Komi
Kongo
Korean
Kuanyama
Kurdish
Lao
Latin
Latvian
Letzeburgesch
Limburgish
Lingala
Lithuanian
Luba-Katanga
Macedonian
Malagasy
Malay
Malayalam
Maltese
Mandarin
Manx
Maori
Marathi
Marshall
Moldavian
Mongolian
Nauru
Navajo
Ndebele
Ndebele
Ndonga
Nepali
No Language
Northern Sami
Norwegian
Norwegian Bokmål
Norwegian Nynorsk
Occitan
Ojibwa
Oriya
Oromo
Ossetian; Ossetic
Pali
Persian
Polish
Portuguese
Punjabi
Pushto
Quechua
Raeto-Romance
Romanian
Rundi
Russian
Samoan
Sango
Sanskrit
Sardinian
Serbian
Serbo-Croatian
Shona
Sindhi
Sinhalese
Slavic
Slovak
Slovenian
Somali
Sotho
Spanish
Sundanese
Swahili
Swati
Swedish
Tagalog
Tahitian
Tajik
Tamil
Tatar
Telugu
Thai
Tibetan
Tigrinya
Tonga
Tsonga
Tswana
Turkish
Turkmen
Twi
Uighur
Ukrainian
Urdu
Uzbek
Venda
Vietnamese
Volapük
Walloon
Welsh
Wolof
Xhosa
Yi
Yiddish
Yoruba
Zhuang
Zulu
Language to exclude
Exclude Language
[Original]
[Main Spoken]
Abkhazian
Afar
Afrikaans
Akan
Albanian
Amharic
Arabic
Aragonese
Armenian
Assamese
Avaric
Avestan
Aymara
Azerbaijani
Bambara
Bashkir
Basque
Belarusian
Bengali
Bislama
Bosnian
Breton
Bulgarian
Burmese
Cantonese
Catalan
Chamorro
Chechen
Chichewa; Nyanja
Chuvash
Cornish
Corsican
Cree
Croatian
Czech
Danish
Divehi
Dutch
Dzongkha
English
Esperanto
Estonian
Ewe
Faroese
Fijian
Finnish
French
Frisian
Fulah
Gaelic
Galician
Ganda
Georgian
German
Greek
Guarani
Gujarati
Haitian; Haitian Creole
Hausa
Hebrew
Herero
Hindi
Hiri Motu
Hungarian
Icelandic
Ido
Igbo
Indonesian
Interlingua
Interlingue
Inuktitut
Inupiaq
Irish
Italian
Japanese
Javanese
Kalaallisut
Kannada
Kanuri
Kashmiri
Kazakh
Khmer
Kikuyu
Kinyarwanda
Kirghiz
Komi
Kongo
Korean
Kuanyama
Kurdish
Lao
Latin
Latvian
Letzeburgesch
Limburgish
Lingala
Lithuanian
Luba-Katanga
Macedonian
Malagasy
Malay
Malayalam
Maltese
Mandarin
Manx
Maori
Marathi
Marshall
Moldavian
Mongolian
Nauru
Navajo
Ndebele
Ndebele
Ndonga
Nepali
No Language
Northern Sami
Norwegian
Norwegian Bokmål
Norwegian Nynorsk
Occitan
Ojibwa
Oriya
Oromo
Ossetian; Ossetic
Pali
Persian
Polish
Portuguese
Punjabi
Pushto
Quechua
Raeto-Romance
Romanian
Rundi
Russian
Samoan
Sango
Sanskrit
Sardinian
Serbian
Serbo-Croatian
Shona
Sindhi
Sinhalese
Slavic
Slovak
Slovenian
Somali
Sotho
Spanish
Sundanese
Swahili
Swati
Swedish
Tagalog
Tahitian
Tajik
Tamil
Tatar
Telugu
Thai
Tibetan
Tigrinya
Tonga
Tsonga
Tswana
Turkish
Turkmen
Twi
Uighur
Ukrainian
Urdu
Uzbek
Venda
Vietnamese
Volapük
Walloon
Welsh
Wolof
Xhosa
Yi
Yiddish
Yoruba
Zhuang
Zulu
Exclude Language
[Original]
[Main Spoken]
Abkhazian
Afar
Afrikaans
Akan
Albanian
Amharic
Arabic
Aragonese
Armenian
Assamese
Avaric
Avestan
Aymara
Azerbaijani
Bambara
Bashkir
Basque
Belarusian
Bengali
Bislama
Bosnian
Breton
Bulgarian
Burmese
Cantonese
Catalan
Chamorro
Chechen
Chichewa; Nyanja
Chuvash
Cornish
Corsican
Cree
Croatian
Czech
Danish
Divehi
Dutch
Dzongkha
English
Esperanto
Estonian
Ewe
Faroese
Fijian
Finnish
French
Frisian
Fulah
Gaelic
Galician
Ganda
Georgian
German
Greek
Guarani
Gujarati
Haitian; Haitian Creole
Hausa
Hebrew
Herero
Hindi
Hiri Motu
Hungarian
Icelandic
Ido
Igbo
Indonesian
Interlingua
Interlingue
Inuktitut
Inupiaq
Irish
Italian
Japanese
Javanese
Kalaallisut
Kannada
Kanuri
Kashmiri
Kazakh
Khmer
Kikuyu
Kinyarwanda
Kirghiz
Komi
Kongo
Korean
Kuanyama
Kurdish
Lao
Latin
Latvian
Letzeburgesch
Limburgish
Lingala
Lithuanian
Luba-Katanga
Macedonian
Malagasy
Malay
Malayalam
Maltese
Mandarin
Manx
Maori
Marathi
Marshall
Moldavian
Mongolian
Nauru
Navajo
Ndebele
Ndebele
Ndonga
Nepali
No Language
Northern Sami
Norwegian
Norwegian Bokmål
Norwegian Nynorsk
Occitan
Ojibwa
Oriya
Oromo
Ossetian; Ossetic
Pali
Persian
Polish
Portuguese
Punjabi
Pushto
Quechua
Raeto-Romance
Romanian
Rundi
Russian
Samoan
Sango
Sanskrit
Sardinian
Serbian
Serbo-Croatian
Shona
Sindhi
Sinhalese
Slavic
Slovak
Slovenian
Somali
Sotho
Spanish
Sundanese
Swahili
Swati
Swedish
Tagalog
Tahitian
Tajik
Tamil
Tatar
Telugu
Thai
Tibetan
Tigrinya
Tonga
Tsonga
Tswana
Turkish
Turkmen
Twi
Uighur
Ukrainian
Urdu
Uzbek
Venda
Vietnamese
Volapük
Walloon
Welsh
Wolof
Xhosa
Yi
Yiddish
Yoruba
Zhuang
Zulu
Certification
Certification
G
PG
PG-13
R
Not Rated
NC-17
Certification
G
PG
PG-13
R
Not Rated
NC-17
Age Rating
Kids Age
[Only CC Ratings]
2+
3+
4+
5+
6+
7+
8+
9+
10+
11+
12+
13+
14+
15+
16+
17+
18+
Not Rated
Kids Age
[Only CC Ratings]
2+
3+
4+
5+
6+
7+
8+
9+
10+
11+
12+
13+
14+
15+
16+
17+
18+
Not Rated
Country to include
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Afghanistan
Aland Islands
Albania
Algeria
American Samoa
Andorra
Angola
Anguilla
Antigua
Argentina
Armenia
Aruba
Australia
Austria
Azerbaijan
Bahamas
Bahrain
Bangladesh
Barbados
Belarus
Belgium
Belize
Benin
Bermuda
Bhutan
Bolivia
Bosnia
Botswana
Bouvet Island
Brazil
British Virgin Islands
Brunei
Bulgaria
Burkina Faso
Burma
Burundi
Caicos Islands
Cambodia
Cameroon
Canada
Cape Verde
Cayman Islands
Central African Republic
Chad
Chile
China
Christmas Island
Cocos Islands
Colombia
Comoros
Congo Brazzaville
Congo
Cook Islands
Costa Rica
Cote Divoire
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Cuba
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Denmark
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Egypt
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Equatorial Guinea
Eritrea
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Ethiopia
European Union
Falkland Islands
Faroe Islands
Fiji
Finland
France
French Guiana
French Polynesia
French Territories
Gabon
Gambia
Georgia
Germany
Ghana
Gibraltar
Greece
Greenland
Grenada
Guadeloupe
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Indian Ocean Territory
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Nigeria
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Romania
Russia
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Saint Lucia
Saint Pierre
Saint Vincent
Samoa
San Marino
Sandwich Islands
Sao Tome
Saudi Arabia
Senegal
Serbia
Serbia
Seychelles
Sierra Leone
Singapore
Slovakia
Slovenia
Solomon Islands
Somalia
South Africa
South Korea
Spain
Sri Lanka
Sudan
Suriname
Svalbard
Swaziland
Sweden
Switzerland
Syria
Taiwan
Tajikistan
Tanzania
Thailand
Timorleste
Togo
Tokelau
Tonga
Trinidad
Tunisia
Turkey
Turkmenistan
Tuvalu
Uganda
Ukraine
United Arab Emirates
United Kingdom
United States
Uruguay
Us Minor Islands
Us Virgin Islands
Uzbekistan
Vanuatu
Vatican City
Venezuela
Vietnam
Wallis and Futuna
Western Sahara
Yemen
Zambia
Zimbabwe
Country to exclude
Exclude Country
Afghanistan
Aland Islands
Albania
Algeria
American Samoa
Andorra
Angola
Anguilla
Antigua
Argentina
Armenia
Aruba
Australia
Austria
Azerbaijan
Bahamas
Bahrain
Bangladesh
Barbados
Belarus
Belgium
Belize
Benin
Bermuda
Bhutan
Bolivia
Bosnia
Botswana
Bouvet Island
Brazil
British Virgin Islands
Brunei
Bulgaria
Burkina Faso
Burma
Burundi
Caicos Islands
Cambodia
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IMDb
6.4
/45/
Trakt
10
/1/
TMDb
55
/2/
Re-enactment (1960)
In 1959, in Romania, six former members of the nomenclature and the secret police organize a hold up of the National Bank. After their arrest, the state forces them to play themselves in a film which reconstitutes the crime and the investigation. At the end of their trial, filmed live,
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they are sentenced to death and executed. except the women, Monica Sevianu that due to the fact that she had 2 children she was punished to do hard work for life.
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Trakt
10
/1/
TMDb
JECO - Jocuri Electronice pe Calculator (1989)
" Advertisement film for video games made by CENTROCOOP. "
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Trakt
10
/1/
TMDb
Women of Today (1958)
Made on the occasion of March 8, it presents a series of brief portraits of women, from various professional fields, of different ages and even of different ethnicities, pointing out the benefits that the communist organization had brought to their daily lives. A special emphasis is pla
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ced on their status as mothers and on the role of nurseries and socialist kindergartens not only in making their lives easier, but also in giving them the time they need to build a career. Another concern of the filmmaker, starting from the concrete case of one of the protagonists, is to highlight the differences between the happy present and the not-too-distant past in which someone with her social status should have dedicated herself exclusively to raising children, in hygienic and extremely difficult lives.
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Trakt
10
/1/
TMDb
Let All Children Smile (1957)
The film's protagonists are the orphaned children taken into custody by the state and institutionalized at Children's House no. 6 from Bucharest. For Mészáros, the concern for the situation of children left orphaned during the Second World War is autobiographical: the director directly experienced the absence of parents in her own childhood.
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Trakt
10
/1/
TMDb
Winter of a slacker (1974)
At the beginning of the 70s, Sahia Studio produced a number of social investigations commissioned by the Central Committee of the Romanian Communist Party, intended to expose the so-called "social parasitism". The decision was taken after the theses of July 1971, which provide that "one
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of the main objectives of political work, especially among the youth, is the firm fight against the tendencies of parasitism, of an easy life, without work, the cultivation of responsibility and the duty to work , in the service of the country, the people, the socialist society". The most famous films, made with the competition of the Ministry of the Interior and the Ministry of Justice, are Să treacă vara and Iarna unor pierde vară
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Trakt
10
/1/
TMDb
Quality Control (1984)
Ada Pistiner’s investigation of the sources of substandard domestic items pushes its commissioned mandate to self-scrutiny, questioning both state-imposed industrial production and filmmaking processes.
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Trakt
10
/1/
TMDb
The Night School Students (1982)
Bearing the signature melancholy, affection, and absurdist irony of associative form that would define his filmography, Copel Moscu’s debut is a loving portrait of miners and their arduous, sun-deprived existence.
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Trakt
10
/1/
TMDb
For Our Heirs, More Stories About Bucharest (1980)
A cine-postcard directed at the Bucharest of 2080, For Our Heirs… is a charming time capsule whose innocuous humour and visuals will soon stand in sharp contrast to the harsh reality of the decade’s austerity measures.
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Trakt
10
/1/
TMDb
Ședința s-a amânat a doua oară (1971)
Counterintelligence film from communist Romania.
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Trakt
10
/1/
TMDb
Adevărata putere (1963)
A bizarre mixture of unmasked propaganda for the apparent success of the collectivization process in Moldova with a fresh approach, sometimes extremely exciting, from a formal and narrative point of view.
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Trakt
10
/1/
TMDb
New Technology, Educated People (1963)
One of the most ingenious documentaries of a period not at all devoid of fanciful and provocative attempts in the history of the "Alexandru Sahia" studio.
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Trakt
10
/1/
TMDb
Însemnări de reporter (1967)
Banned for 20 years during the communist regime in Romania, this short film depicts New York City through the eyes of a director and a writer.
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Trakt
10
/1/
TMDb
3x3=…? (1963)
A playful representation of the snobbery of communist middle class parents, for whom grades are more important than the real interest in their children's needs and curiosities.
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IMDb
Trakt
10
/1/
TMDb
60
/1/
Tăbăcării (1963)
An illustration of the evolution of the working conditions in the communist era, compared to the interwar period, using as a pretext a recently modernized factory in Jilava, presented in a mirror with the one described in a 1934 report by Geo Bogza.
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IMDb
8.8
/5/
Trakt
10
/1/
TMDb
60
/1/
Case D (1966)
A compassionate portrait of a lonely old man’s attempt to reconnect with his estranged family is transformed into an investigative cinema verité procedural.
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IMDb
8.0
/5/
Trakt
10
/1/
TMDb
60
/1/
Adolescence (1969)
"This wonderful age in life where every thought strives toward an ideal, toward work, toward the future." Sahia Studios propaganda flick about how adults and their "those darn kids" attitudes affect adolescents.
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Trakt
TMDb
The Plant (1963)
"Filmed at "May the First" plant in Ploiești withe the occasion of the International Labor Day, The Plant is presented as a universe in itself, one which materialises the consubtantiality between social and technologic progress. Popovici felt his film must be a poem that can match the s
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ize of its subject. Thus, it became a juxtaposition of "cinematographic ideas related to one of the largest plants in the country". Inspired by soviet avant-garde, the director searches for a revolutionary aesthetic, one able to capture the rupture caused by the New Socialist Order. "
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Trakt
TMDb
Newsreel Nr. 7 (1953)
Part of the series made at "Alexandru Sahia" Studios.
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Trakt
TMDb
How do we follow the rules of the road? (1963)
"This rediscovered film directed by Slavomir Popovici (under his Romanian name, Miron Slavu) was made on command of the Capital's Militsiya. The movie starts from the playful premise that two undisciplined pedestrians are in charge of the city's traffic. Popovici uses this opportunity t
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o stage an anarchic choreography in the city's centre, the film being closer to an avant-garde study. Just like in The Plant, the director abandons linear dramaturgy and chooses to make a playful exercise, a cinematographic exploration of movement and space."
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Trakt
TMDb
Along the Frumoasa Valley (1974)
The industrial site, the dam under construction and the colony of workers’ housing attached to them are among the favourite spaces of the Sahia documentary, especially during the last decade of the communist regime. The work on the country’s numerous industrial sites is a constant theme
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included in the annual Thematic Plans of the studio, therefore repeatedly fixed on film and repeatedly missed, or at least simplified by the documentaries of the time, always completed under the pressure of the political imperative.
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Trakt
TMDb
The School of the Meri Village (1964)
You must have passed through here at least once, says the voiceover commentary during the opening shots of this film. We learn that express trains pass through Meri without stopping and goods trains slow down, but don’t stop. Only the 7:01 commuter train stops, for just a minute, long e
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nough for the teaching staff to alight. Dedicated to all those who live and work in isolated corners of the country, the film conjures up a small, remote world, virtually unknown to wider audiences.
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Trakt
TMDb
Those Intrepid Men and Their Complex Machines (1987)
Let’s work, but how? reproachfully asks one of the workers from the Station for the Mechanization of Agriculture (SMA) in Țăndărei, where filmmaker T. Barta was sent to document the lives of an agricultural brigade. Commissioned by the Ministry of Culture, the film was intended for scre
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ening in cinemas. Eight days had been allocated for the full shoot, without prior recce. On the first day, the filmmaker gathered the men round a fire—without having informed the local mayor, the Party Secretary or the head of the SMA, as was customary at the time—and recorded their thoughts about their work: sound only, no images. Once that was completed, the remaining days were dedicated to collecting images of the community.
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TMDb
Remember (1973)
The gradual opening-up of Romania during the 1960s continued with the reorganisation, in 1972, of the national strategy for culture and tourism promotion, and the establishment, as part of the new Council for Culture and Socialist Education (CCES), of a special commission in charge of t
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he national strategy for incoming foreign tourists. It was in this context that the National Tourrism Office (ONT) strategically commissioned, via its media arm Publiturism, a series of films meant to persuade various communities from the Romanian diaspora to spend their holidays – and their money – “back home” in Romania.
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IMDb
Trakt
TMDb
Craiova Viewed from a Cart (1974)
Travelogue of Craiova, a (then-)small town in southwestern Romania.
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Trakt
TMDb
The Hottest Day (1974)
This film consists of almost twenty minutes coverage of a political rally, filmed by more than ten Sahia cameramen, during the celebration of the thirtieth anniversary of 23 August 1944, ‘the first day of the socialist era’. The Hottest Day is part of a rich author filmography, which in
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cludes around one hundred titles, such as A Life Dedicated to the Happiness of the People (1978); Homage (1983); The Party, The Homeland, The People (1986); Heroic Times in Legendary Lands (1987). When the Sahia documentaries obediently followed their political commission, their length could surpass the usual ten to twenty minutes, even reaching feature length. The Hottest Day was one of the shortest film in this category that we could find in the archives.
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Trakt
TMDb
Report from the Red Flag (1964)
Report from the Red Flag is an odd presence against the gloomy background of Stalinist Romania. It belongs to a wider body of Sahia films about the living conditions afforded by the new blocks of flats built across Romania – in this case, a workers’ quarter built in ‘Stalin’-town (the n
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ame assigned, between 1950 and 1960, to the Transylvanian town of Brasov). While other films bear the imprint of the collectivist, work-centered ethos of the time, Red Flag follows the workers during their downtime, between Saturday 3pm (the end of the working week) and Sunday evening, while they spend quality time with their families, walking, mountain climbing, biking, fishing, or shopping – an opportunity, today, to see candid images of relaxation shot at a time when the state started paying attention to the leisure and tourism facilities available to its citizens.
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TMDb
The Roads I Have Wandered (1982)
A look at Romania's increasing mechanization in the seventies told from the perspective of a wanderer.
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Trakt
TMDb
Who Is to Blame? (1965)
Like Márta Mészáros, Florica Holban experienced losing her parents and institutionalization first-hand as a young child, which later triggered her long-term interest in the lives of the children growing up in state care. Holban’s Who Is to Blame? has something else in common with Mészár
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os’s Let All the Children Smile: they both include sequences filmed at the same orphanage in Bucharest (Orphanage No. 6)—Mészáros in the mid-50s, Holban a decade later. The two films also share a certain discretion regarding the role of the State, which assumed parental responsibility for children abandoned or separated from their parents. Here, both directors allow, albeit only briefly, the lonely and deprived children to appear as individuals with their own histories and traumas. Unlike Mészáros, however, Holban approaches her topic through a judicial lens: numerous sequences from her film were shot at the Tribunal, and the film credits a prosecutor as a consultant.
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TMDb
The "Electromotor" Timișoara Enterprise presents the Industrial Robot "REMT 1" - Part I (1982)
" The "Electromotor" Timișoara enterprise presents the industrial robot "REMT 1" which replaces stereotypical and tiresome activities through a rhythmic and harmonious execution. This robot is mostly used for assembly purposes. "
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Trakt
TMDb
Industrial Robots (1983)
" A popularisation film, based on our researches and discoveries in the domain of the most advanced branch of technology, an attempt of clarifying the principles by which these strong helpers of men function, especially of how their "senses" systems work. "
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Trakt
TMDb
Newsreel Nr. 6-7 (1954)
"Fighting the Snow", which was subsequently also known as "Blizzard" represents a double feature, 6&7, of the "Actualitatea în Imagini" series. Directed by Mirel Ilieșu, it was filmed during the rough days of February 1954, when Romania faced a massive blizzard which targeted the capita
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l city, eastern and south-eastern parts of the country, in three waves: 1-14, 17-19 and 22-24 of February. Part of the series made at "Alexandru Sahia" Studios. Awarded newsreel at Karlovy-Vary in 1954.
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TMDb
Newsreel Nr. 22 (1957)
Celebrates the 500th journal made since August 23rd 1944.
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Trakt
TMDb
Then The City Was Born (1972)
Documentary about the fall of the old city of Orșova due to the construction of the Iron Gates hydroelectric power station.
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Trakt
TMDb
Newsreel Nr. 5 (1952)
Part of the series made at "Alexandru Sahia" Studios.
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Trakt
TMDb
Newsreel Nr. 35 (1950)
Part of the series made at "Alexandru Sahia" Studios.
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Trakt
TMDb
Cartierul nostru (1963)
Produced at the request of the Executive Committee of the People's Council of the capital, "Our Neighborhood" follows the story of a locomotive mechanic and his neighbors, recently assigned to the newly constructed buildings in Floreasca. Set against the backdrop of the emerging residen
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tial areas, the film's narrative structure retains the spirit of socialist realism but is strongly influenced by the optimism and cosmopolitanism of the 1960s. Accompanied by rhythmic swing tunes, we follow the characters of this documentary, representatives of the working class, both at their workplaces and in the new, bright and airy apartments, integrated into the logic and aesthetics of the new socialist neighborhood.
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Open files (1975)
A more experimental aproach to labor protection films. In the line of Săucan's style, the soundtrack is as important as the image, the threatening music, full of shrillness, composed by Ion Dumitrescu potentiating the visual construction that mixes - in a montage reminiscent of the Sovi
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et avant-garde school of the 1920s - all kinds of shooting techniques and frame combinations.
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Letter from Romania (1973)
Part of a series of promotional films commissioned by Romania's National Tourism Office in the early 1970s with the aim of reconnecting diasporic communities with the country they left behind. In this case, the film is addressed to Jews who emigrated in the context of the Second World
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War or were sold by the Romanian state to the State of Israel starting in the 50s and settled in Israel and the USA - therefore, a target group made up of seniors, probably retired , possibly prosperous, eager to revisit the places of youth and willing to forget, temporarily, the traumas associated with them.
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The Diary of Florica S. (1975)
Director Eugenia Gutu offers a feminist critique of gender (in)equality under socialism in this documentary portrait of an industrializing town and its model citizen, Florica S.
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Let The Summer Pass (1972)
A public service announcement condemning the ominous obstacle of social parasitism and delinquency amongst wayward youth unwilling to contribute to Romania’s socialist advancement.
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